We all have a dream in us.

The island represents the idea of confinement, being enclosed unlike the island escape touted by travel agents. This is the case with Iceland. My characters cannot avoid continually bumping into one another on the only road that goes around it. The idea of an inevitable meeting on an island trip fascinates me. Meeting means talking and discussing, thereby therefore freeing oneself. The island enables not only the four characters to be cut off from the world for the exchange and confrontation of the characters, but its also provides us with the beautiful decor. The power of nature serves as a backdrop, scenes of life.


The ubiquitous car is followed with its double bass on the roof in the great outdoors. It provides us with the disproportionate scale of Nordic landscapes. It’s cold and we stamp our feet to warm up. There is a preference for long discussions in a car with the heating on. The landscape passes by in front of a windscreen of rain, between busy windscreen wipers. The tent is shaken by the strong wind. This very changeable climate is an ally for me. Contrary to films in the city, I need space in my films. Air! Mountains and sea, climbing and surf, two inseparable parts of my life, the Yin and Yang, are found in Icelandic landscapes.


Resulting from an oppositional ideology of counterculture, the road-movie reflects suffering due to a lack of freedom. The final outcome is also often very bitter. In my film, the road movie has a vocation and a positive outcome: even if the purpose of the quest is uncertain, a relationship between the characters occurs on the road that would not have been possible without this journey. Self-discovery takes place through contact with the great outdoors and others, enabling society to be reintegrated on a personal level – a form of redemption for all our characters.


With The Lost Elephants we meet a family, a friend and an ideal with encounters at crossroads, separations and dead-ends. We leave a city, someone and ill-being behind. Is this taking flight or an initiatory journey? The Lost Elephants turns the journey into a place for experimentation, for freedom and revolt in the face of established order. It is also a way to pause to take stock, to question the foundations of our modern society and therefore our past and future lives. The film falls within this narrative form of a geographical and human quest. It is physical and spiritual.


Claude Andrieux